Saturday, October 5, 2013

Here's my third Canadian collection after Vol23 and Vol58. I make plenty of discoveries from the land of the maple leaf and this one is an eclectic bunch from the golden period of '69 to '75 (maybe the best years in rock history?). Dripping with early 70's rock goodness, this set features a few album cuts, two tracks from recently-released retrospective ep's (Ax via Rise Above Relics & Twitch via Supreme Echo) and a load of great obscure singles that I mostly found on the gold-mine (if you look hard enough) site Museum Of Canadian Music.The Lyme, Noah, Sun Band and Brave Belt have connection to Bachman Turner Overdrive, mainly through Randy Bachman who seems to have been an active guy in the early days, his first notoriety of course gained in The Guess Who, while playing with and producing many bands, on to Brave Belt and then some world-wide acclaim in BTO. Three of the included bands have appeared before on TDATS; Rose on the AOR special Vol91, Heat Exchange back on the flute special Vol78 and Sex who were on the 2nd Canada special and appear again because I found this track on their second album, 'The End Of My Life', that is a blues rock groovathon.

So to begin, 'The Village S.T.O.P.' single is a heavily Hendrix-influenced fuzzy a-side from 68-69 and according to Museum Of Canadian Music the band was Fraser Loveman, Paul Marcoux, Nick Urech, Steve Urech and Jim Hall. It's stated in a couple of places including MOCM that UK-born singer Fraser Loveman was previously a member of The British Modbeats, later on he starred in theater shows of "Hair" and "Annie Get Your Gun". There is more info on that site relaying stories of The Village S.T.O.P. performing a revolutionary 'freak out' section of their live set where the lights would go out and the band would whip their clothes off to reveal luminously-painted bodies (sometimes naked apparently) and do crazy dances.

The Village S.T.O.P. in body paints

Here's a quote from Fraser, found at MOCM: "Niagara bands were so overlooked and underproduced Ha! Ha! We appeared naked with just flourescent body paint (black light). We were huge on the eastern seaboard. Then Alice Cooper stole our act. But I'll tell ya one thing - The Village STOP outplayed anybody and put on a show like you wouldn't believe. We played gigs where major acts refused to go after us. The sheer force, colour, acrobatics and staging was unparralled at the time. The pix speak for themselves!" There is more information and photos with comments by Fraser here at MOCM.

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The Lyme 45 (1969)

Here is some information on The Lyme, courtesy of the MOCM, including a mention of Randy Bachman's 'additional guitars': "The Lyme`s only release, the superb double-sider ‘I’m Only Dreaming’ b/w ‘Measles’, was purportedly the first stereo 45 released in Canada. And the record might even have scaled some local charts had it not been overshadowed by the Guess Who’s massive top-ten hit ‘These Eyes’, which was released just several months before. In fact, both bands were managed by the Quasimodo Agency, led by Don Hunter and Ray White. What’s more, these Lyme sides were produced by a young Randy Bachman (who also played guitar on both tracks), himself just months away from superstardom south of the border. The short-lived band came to be after the leader Terry Read had come back to Winnipeg from Burlington with Rick Keens to join up with Wade George and the rest of the band. However, Rick left the band shortly thereafter before the band recorded any material. Mark Thiessen replaced Keens as the bassist for all of the recordings including a demo version of "Morning Dew". The Lyme debuted on National TV on the weekly afternoon CBC show that Chad Allen hosted along with the Guess Who. Both tracks on this single (along with two more unreleased tracks, one which was co-written by Randy Bachman) were recorded at the Peg’s Century 21 studios. The languid, organ-led ‘I’m Only Dreaming’ no doubt had its eyes on the AM charts, while the more-electric b-side features trippy, double-tracked vocals and a moody, downer vibe. Both ‘I’m Only Dreaming’ and ‘Measles’ would find their way onto the excellent 2-CD set Buried Treasures, Winnipeg Rock Gems 1958-1974, issued back in 2009 by the venerable Super Oldies Record label. -Robert Williston All members were from Winnipeg, Manitoba; George Crakewich : lead vocals, Gary Sherbanow : guitar, Terry Read : keyboards, Wade Gargan : drums, Rick Keens : bass guitar (replaced by Mark Thiessen), Mark Thiessen : bass guitar (replaced Rick Keens), Randy Bachman : additional guitars"

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Sex - The End Of My Life LP (1971)

Quebec's Sex appeared on TDATS before with their controversially-lyricised song 'I Had To Rape Her'. Here I am using a much less shocking track that was a single of theirs taken from the second album. It's a wicked slab of groovy blues rock. I found some information on the band on the Prog Quebec site and here it is: "Sex was formed by Yves Rousseau (guitar), Robert Trepanier (vocals, bass, flute, harmonica), and Serge Gratton (drums). They released a self-titled album in 1970. The LP features rudimentary hard rock tracks based on heavy blues, a style prevalent in Britain at the time. (In fact, one could describe the album as a cross between Budgie and Black Sabbath.) This strong blues influence could explain it being labeled as "psychedelic" by some. Lyrics are sung in English with a heavy French accent, which was still mostly the case in Quebec, until Dionysos, who played many shows with Sex, broke the trend by singing all in French. Song titles and lyrics are consistent with the group's name, and contain some disturbing themes. Highlights on the album include 'Come Wake Up' and 'Not Yet', both of which were released as a single.

Sex - The End Of My Life LP (1971)

1971 saw the release of a second LP entitled 'The End Of My Life'. Their obsession with the group's name returned with a vengeance, this time producing tracks like 'Syphilissia' and an overall concept concerning a young man whose sexual "coming of age" involves heartbreak followed by promiscuity, then terminal infection, and ultimately imminent death. The band added Pierre (Pedro) Ouellette on sax and flute, lending a little more variety to the music. The album opener, 'Born To Love', starts off as psych-blues for the first minute, embarking suddenly on a jazz-rock penchant for the next, and bringing in a prog twist for its conclusion. "I'm Starting My Life Today" is an interesting blues-rock venture that was chosen as album single. 'Emotions' is not so successful, initially bordering on prog-rock with a frantic sax-and-xylophone intro that recalls Frank Zappa and the Mothers of Invention, but settling immediately thereafter into a rudimentary (though adequately performed) blues. Some tracks can find a distant comparison to post-psych group Blue Öyster Cult. Only the 8-minute title track that closes off the album succeeds in completely breaking past the psychedelic/blues barrier into the realm of the progressive, with enjoyable stylings resembling early Jethro Tull. Like label-mates W.D. Fisher, Sex was managed by Pierre Gravel out of Granby, and both bands' vocals (sung in broken English) detract the listener somewhat from the now dated sounding music. Also, like W.D. Fisher, Sex failed to bridge the gap from the psychedelic 1960's into the progressive realm of the 70's, when true inspiration, originality and musicianship finally exploded in Quebec music."

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Toronto's Bush pedaled a particularly funky brand of hard rock. They only released one album, from which I have used the track "The Grand Commander". The band were Roy Kenner (vocals), Domenic Troiano (guitar), Penti "Whitey" Glan (drums), Hugh Sullivan (keyboards) and Prakash John (bass). Following is their article over at Canadian Bands.com : "Also an alumni of Robbie Lane & The Disciples, when Dominic Troiano left Mandala in 1969, he was looking for a change from the high class big band r&b rhythms. Along with Mandala-mates vocalist Roy Kenner and Pentti 'Whitey' Glan on drums, they moved to Arizona early the next year to get different musical vibes and a fresh start. They recruited bassist Parkash John and began playing the circuit, cutting their teeth on the harder blues based riffs and less sophisticated material they were trying out on a hungry market looking for something different to wet their appetite.

They caught the attention of Reb Foster, an LA disc jockey while he was in Arizona. Foster ran a management company through his Cuordoroy Records that was affiliated with ABC/Dunhill Records. He agreed to manage the band and had them signed to Dunhill in early 1970. Bush in fact was the first band to sign with Cuordoroy. They got bigger gigs, opening for the likes of Steppenwolf and Three Dog Night, but found themselves in the middle of a nightmarish R&R political BS situation as they prepared to release their first lp. ABC/Dunhill sued Cuordoroy, and Bush became the football, punted back and forth with no one ever scoring. Their first and only lp was self-titled and like the band's name, straight forward, simple, catchy and easy. Tracks like the lead off "Back Stage Girl, "Got To Leave The City," "Messin' Around With Boxes" and their only single "I Can Hear You Calling" all showed Troiano and company were looking for a different direction, straight to the bones driving rhythms. The reminiscent "Yonge St. Patty" paid homage to 'the girls from home,' not far from where Troiano grew up.They carried along the dusty trails but by early the next year, they were broke. The band packed it in, but Troiano and Kenner weren't out of work for long. The James Gang came knocking on Troiano's door to fill Joe Walsh's guitar duties, and he convinced them Kenner would be the perfect vocalist for them. Troiano then would go on to join The Guess Who and cut several solo albums, as well as form his Black Market project before becoming immersed in production and behind the scenes work, scoring a number of soundtracks for film and television. Kenner would also appear on again off again in Troiano's solo projects, as well as in Black Market, as did John, who also went on to record with Alice Cooper, along with Glan.

The album was re-released in 1995, but not without controversy. Around the same time that Troiano was remastering the album, a band came out of Britain with the same name. To avoid legal hassles, they changed their name to Bush X for their Canadian release. The original Bush did indeed re-release their only lp, but oddly - with a different cover. Also included were four live tracks from the last show they ever performed at LA's Bitter End club with Three Dog Night.Two years later, Troiano and Gavin Rossdale, leader of the British band held a press conference in Toronto to announce they'd been given permission to use the 'Bush' name on recordings. Troiano succumbed to prostate cancer in 2005."

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Ax

In 2010 Rise Above Relics released "AX - You've Been So Bad" a limited edition 10" ep of 600 copies. Amazingly the master tapes of these three killer tracks, recorded in 1970, were salvaged by baking and mastered for the first time ever. This obscure 70's Canadian hard psych band from Kitchener, Ontario were around since the late 60's and the members were John Frederiksen, Jack Smith, Gary Gross (vocals) and Brian Shearer.

Despite being a popular draw in their local area, these guys sadly faded into obscurity without ever releasing anything... until now that is.

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Morse Code Transmission - debut LP (1971)

Morse Code Transmission were from Quebec and the song I have used is taken from their debut s/t 1971 album. Following is a small bio taken from The Canadian Pop Encyclopedia. They comprised Christian Simard (keyboards, vocals), Michel Vallee (guitar), Jocelyn Julien (guitar) and Raymond Roy (drums). If you'd like to read further there's a more extensive history here at Canadian Bands.com

Morse Code Transmission (Quebec)

"Quebec's Morse Code Transmission had its roots in 1967 as Les Maitres which was founded by Vallee and Roy. They became quite popular playing cover tunes in both French (Robert Charlebois, Claude Leveillee) and English (Bee Gees, Tom Jones, Peter And Gordon). They recorded three unsuccessful singles before changing their name to Morse Code Transmission in the early '70's after signing a recording contract with RCA Records. Their self-titled debut, featuring phonetically learned songs in English by the likes of Stan Rogers, Bill Misener and others, was released in 1971 and had success with the single "Oh Lord". The band performed and recorded intermittently throughout the 1970's and 1980's and even managed a few gigs into the '90's before finally calling it quits in October 1990."

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Ontario's Noah appear at the midway point. Like a few bands on here, they had support from Randy Bachman who occasionally played 2nd guitar with them live and, along with production duties, allegedly played on parts of the the bands second (and final) album 'Peaceman's Farm' (1972). The album is a mix of rural sounding rock which is perfectly complemented by Paul Clapper's husky vocals as you can hear on 'Something's In the Way'. It is less pop-orientated then their debut, which is still a pretty good record but quite different to Peacaman's Farm, closer to what they recorded under their previous moniker 'Tyme And A Half'. Other band members included Barry "Buzz" Vandersel (lead vocals, bass), Marinus Vandertogt (lead & rhythm guitar, vocals), Peter Vandertogt (drums, percussion, vocals), Ron Neilson (lead guitar; replaced Clapper) and Al Manning (guitar; replaced Neilson). My gripe with this album is that while it's all of good quality, it's weighted a bit to too much towards balladeering, the four or so 'rocking' tracks on it are brilliant and I would have more of them!

Noah - Peaceman's Farm LP (1972)

Here is some more information from the Canadian Pop Encyclopedia: "The band started originally playing local clubs around Trenton, Ontario in 1964-65 as Buzzy And The Belvederes. The band featured 'Buzzy' Vandersel’s (who was 14 at the time of the band's inception), his older cousins Peter & Marinus Vandertogt and finally, lead singer Paul Clapper. The band was re-christened Tyme And A Half by Nimbus 9 Productions' manager Al MacMillan during the recording of their first single "It's Been A Long Time". They would release the song and a second single in 1969. The group landed a deal with RCA-Victor through their Nimbus 9 producer Jack Richardson, and with a final name change to NOAH, released their eponymous debut in 1970. Paul Clapper, unhappy with the direction the band was taking under the leadership of Al McMillan, left and was replaced by Ron Neilson as they toured the debut album. However, Neilson also left and Noah carried on as a three piece. Moving to ABC/Dunhill their 1972 album 'Peaceman's Farm' was produced by Randy Bachman. Bachman also wrote the song "Sussex" for the record and played guitar on several tracks as did keyboardist Jim Morgan. The song "World Band" would later be covered by US group GRIFFIN. The album not only recieved great reviews in RPM, Cashbox and Billboard magazines, but increased their profile as one of the featured acts in the Canadian music industry's summer Maple Music Junket. Noah began extensive touring in the USA to promote the album in the Spring of 1972 and Bachman toured with them. One stint included a live broadcast on radio station WCMF in Rochester, New York. Al Manning joined the group at this time as well. With the group on it’s way to big success, it was back into the studio for production of their third album 'California Man'. During the recording of a re-working of Bachman's "Sussex", Vandersel took ill and was rushed to the hospital. Recording was completed in mid-1973 but shortly thereafter Vandersel was rushed to the cancer ward of Kingston General Hospital in Kingston, Ontario for examination which confirmed the growth of a malignant brain tumor. After two years of chemotherapy treatments (and a temporary remission) Vandersel succumbed to his illness in the fall of 1975 at the age of 23. The group disbanded following his death and the 'California Man' album remains unreleased to this day. - with notes from Ron Neilson and Keven Rector." After Noah, At least one member (Al Manning) went on to Coyote, which is mentioned in this article.

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Brave Belt - s/t debut LP (1971)
with Randy Bachman (left)

Not an obscure artist I know, but one that seems to have been involved in the industry at the time and many of the bands in this comp, Randy Bachman re-appears for track 8. Brave Belt were a transitional band for him, moving from the pop/commercial rock of The Guess Who and other acts he was involved with in the 60's/early 70's, towards the tough rural rock sound that Bachman Turner Over drive is known for. The transition is displayed perfectly by comparing the first two Brave Belt records, the fist having a psychedelic pop sound with some great tracks like Wandering Fantasy Girl and the second having rockers like the song I am using here, 'Waterloo Country', which established the BTO sound. Following is some background found at Canadian Pop Encyclopedia, and there's more here at Canadian Bands.com: "[Brace Belt were] Chad Allan (vocals, rhythm guitar, keyboards), Randy Bachman (guitar), Robin Bachman (drums) and C.F. Turner (vocals, bass). During the 1960's Randy Bachman was a founding member of Chad Allan & The Expressions who would go on to fame and fortune as the Guess Who. Bachman had been slugging it out for 10 years by the time the band struck gold with #1 hits like "These Eyes", "Laughing" and "American Woman" and decided to leave the group while they were on top. Upon leaving the band, he released a solo album called 'Axe' for RCA in 1970. The album did little and Bachman found himself yearning for the creativity of a collaborative atmosphere. He called his old Guess Who cohort Chad Allan and they decided to put a new band together. Allen would supply vocals, keyboard and rhythm guitar while Bachman's younger brother, Robin, would handle drums.

Brave Belt - II (1972)

The trio became Brave Belt and headed into the studio to record their debut album with Bachman doing double duty on bass guitar. As fate would have it, they landed C.F "Fred" Turner as bassist just as 'Brave Belt' was completed (Turner doesn't appear on the album). The album was released in 1971 on Reprise Records. By 1972's 'Brave Belt II', the band was starting to show its heavier side particularly with the new addition of C.F. Turner's songwriting and gritty truck driver vocals which appeared to conflict with Chad Allan's vision of the band. Allen contributions to the record were minimal and he quit before the record was released. ('Brave Belt II' would eventually be re-issued following the success of B.T.O under the auspicious handle of 'Bachman-Turner-Bachman As Brave Belt')With the limited success of the first two albums Randy Bachman began hunting for a better record deal which he found with Mercury/Polydor. By then, Chad Allan had been replaced by another Bachman brother, Tim, on guitar and the direction of the band slid into an even heavier mode. By this time, 'Brave Belt III', was the intended next record but with a new label and band direction the group changed gears, literally, and became 'Bachman Turner Overdrive' or B.T.O. for short."

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Long Time Comin' label

Long Time Comin' have been hard to find to find information on. I have found mention that they were from Vancouver and they recorded three singles (according to MOCM), of which 'Part Of The Season' was one. It's a catchy tune with great phased fuzz guitar and Mike Bosley is credited as writer, as with most of their songs. Here is what Allmusic.com has to say: "Artist Biography by Stansted Montfichet. An obscure footnote from Vancouver, BC's early 70's music roster, this foursome included Mike Bosley (songwriter and lead guitarist); Gary Webstad (bass); Jerry Lipinski (rhythm guitar); and Howie Atherton (drums). The band cut "Paper Rose" (1970) and "Part Of The Season" (1972) as singles for the local S.G.M. label; other self-penned repertoire included "Funny" and "Downhill Slope." In its folky California guitar stylings, "Paper Rose" hearkens back to Spirit and Moby Grape; while "Part Of The Season" is fuzz-funk with a more contemporary seventies feel. Like many of their contemporaries, the group vanished without a trace. Their two-single legacy resurfaced, however, on the History Of Vancouver Rock, Volume 4 (Vancouver Record Collectors' Association VRCA 004, 1991)."

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Ronnie and Natalie Pollock(maybe?)- "Winnipeg Tribune"

Facts on Winnipeg's 'Ronnie and Natalie' are sketchy and confusing too, but their song here is a winner, high-octane rock n roll with a punky performance from the female singer in her call and response vocals. Their surname in production credits is Pollock, so I can only guess that they were married, or brother and sister. It seems that they are fundamentally connected with a band called Stumpwater, who I used before with a brilliant heavy track 'Turn Me On Woman' on Vol70. Stumpwater may have been the backing band on the track included here; '6 times', which was the b-side to Turn Me On Woman on a single that is stated to have been released in 1972 (though elsewhere it says 1975). MOCM also atributes Ronnie and Natalie to two other singles, both of which are pop music. Here is some information on the single at MOCM that makes a connection to 'Guess Who' through guitarist Steve Heghi, though I have not yet found mention of that name being a Guess Who guitarist. It also says that Dave Chapman was the arranger and performer of 6 Times, though I can only guess that the female vocals are those of Natalie Pollock.
"heavy sounds from north of the border. Little-known in collectors circles outside of Winnipeg. Low down and dirty. ....

MOCM also provides a link to a cryptic website that claims Natalie was co-host on "The Pollock and Pollock Gossip Show" which looks like it was a public access TV show.

NEW UPDATE: I have found some revealing information on Wikipedia here: "Natalie Pollock is a former musician and talk show host, and has campaigned for Mayor of Winnipeg three times. She attended Grant Park and Kelvin high schools in Winnipeg, and audited courses in Political Science at the University of Manitoba. She and her brother Ron Pollock worked as musicians in the 1960s and 1970s, under the names "Ron and Natalie O'Hara". Dionne Warwick produced one of their songs in 1968, and three of their songs hit Billboard Magazine's easy-listening charts in the early 1970s. Pollock later ran her father's podiatrist office, and unsuccessfully sought a Liberal Party nomination in the buildup to the 1984 federal election. In the late 1980s, she and her brother hosted a cable-access television program called "The Pollock and Pollock Gossip Hour". A report in the Winnipeg Free Press asserts that the program featured "off-beat political interviews" and "often-provocative dancing by Natalie". The show was canceled in 1990."

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'You Know There’s Nothing To It / Good Feeling' 45 (Sun Band - 1972)

Sun Band (formed Saskatoon, SK) was Wayne Rollack (drums), Brian Will (bass), Gerry Bowers (guitar), and Rod Salloum (keyboards). The track I chose, 'Good Feeling', is a b-side to 'You Know There’s Nothing To It'. Here is the bio at RYM: "Sun Band was formed by Rollack, Will, and Bowers, shortly after leaving high school. Six singles were produced around 1972 by Randy Bachman: “Where Have You Been”, “Fixing My Ways”, “Thinking of the Days”, “Mr. Stevens”, “You Know There’s Nothing To It”, and “Good Feeling.” Salloum joined shortly after. The band played mostly in Saskatchewan, Alberta, Manitoba, and North Dakota. In 1974, they went into the Tommy Banks studio, but never produced an album. The next year, A&M records contacted the band, wanting to hear more, but the band folded in 1975. Rollack is now a music teacher with the Saskatoon Public School Division. Will plays with the Paul Tobin Band and C95 Magic Band. Salloum works with independent artists, splitting his time between Saskatoon and Vancouver. Bowers has not played for some time."

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Rose - Hooked on a Rose LP (1973)

On to track 12, Rose started in the very early 70s and released their debut 'Hooked on a Rose' in 1973. At this point they were nearer the sound of Deep Purple on their heavy tracks (exemplified by the track I use here; "Ride the Subway") which is understandable as the LP was produced by John Stewart who had reportedly worked with Deep Purple & Jon Lord (though I have been unable to deduce which records as yet). They adapted early on to the production and sound of AOR and you can them in this later phaze on Vol91.

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Heat Exchange

The next track is from a Canadian group called Heat Exchange. This Toronto-based 5 piece were clearly very talented and showed great musical versatility. Unfortunately they did not make an album, though they earned a recording contract to do so, and the scant information available so far on the series of singles they made does not reveal what happened to them. 'Philosophy' is some frenetic prog which is quite heavy but accessible too, they could have been huge.

Heat Exchange -Philosophy 45 (1973)

I found a guy on YouTube who is the son of Flute player Graig Carmody, so I asked him for information on the band and this was his reply: "If I recall my dad's story correctly, they struggled to find a strong commercial hit--they landed a recording contract and Scorpio Lady was their first attempt at a commercial hit. It did pretty well in Toronto, landing in the top 40 countdown for some time. But the rest of their stuff was really creative and unusual, and I think they didn't want to veer too far away from that. A year later their momentum faded, and things just fell apart from there. My dad still plays after many years of repairing instruments as his profession, just in a couple local bands. If you're curious, here's a video of him in recent days."

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Twitch - s/t 7" EP (1973)

Twitch finishes up this volume, here is the intro to the recent retropsective EP released by Supreme Echo: "Canada's long lost doom/proto-punk legends finally unleashed! Distancing themselves from the bustling local psych scene, they formed in 1971 on the rural outskirts of Vancouver becoming a hard rock trio unlike any other local group. Band leader Ian prompted the guys to wear bloody horror-fantasy make-up and bizarre outfits, becoming the first (and only) in Vancouver to do so (also believed to be first to use smoke & fog) packing full house night after night. Late March / early April they did two recording sessions documenting the entirety of original compositions - a mere four songs resulting in two 45 singles. The first 45 was issued in May and the second in August, both pressed in roughly 100 copies. Comparable to early Pentagram, Crushed Butler, Edgar Broughton Band, Stone Bunny, Troyka, early Alice Cooper, Wicked Lady, Bang, Dust, and others. Brace yourselves folks, Twitch's story will rewrite Canadian underground history! A true bone-cruncher! Now compiled onto one EP with orange repro labels, deluxe picture sleeve (not fold-over), and 16 page booklet with detailed history & tons of photos. Fully authorized, limited edition of only 600 copies. (Supreme Echo, 2012)

Twitch -'Pick Up Is Illegal on 401' demo (1973)

Reviews: "...looking like Norwegian Death Metallers twenty years ahead of their time...obscuro 1973 Vancouver rockers who graduated from the Sixties teen garage scene, compiling their first two 45s over two sides. “Things” is the centerpiece, a brooding bad-trip sounding proto-punker that bridges the gap between Sixties garage and psych (even if the band held the burgeoning “psych” movement in disdain) which was backed with the biker-rock “Pickup Is Illegal on 401 (Hitchhiker’s Blues)”..." - RK / Terminal Boredom, June 2012"Glam-rooted hard rock from Vancouver circa 1973, with the morbid death wish of Alice Cooper folded in as a last-ditch attempt for notoriety... a band that was musically ahead of its time, and was likely pushing things along to some degree...menacing, brooding, simple yet memorable downers, with a penchant for mean riffs and body paint...strange, but effective, and interesting enough to merit closer inspection by aficionados of both the era and the underground rock history of western Canada..." - Doug Mosurock / Still Single, July 2012".

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